FRIGHTENING FLIX BY KBATZ: BONE TOMAHAWK

 

Bone Tomahawk is a Wonderfully Horrific Western Road Trip

by Kristin Battestella

 

For audiences that don’t like westerns or straight, terse drama, the opening half of the 2015 genre bender Bone Tomahawk will be too slow. However, for viewers seeking gritty period pictures and horror films set in unique places, this is definite yes!

While tending to the crazed and wounded outlaw Purvis (David Arquette), Samantha O’Dwyer (Lili Simmons) is abducted by a mysterious, hear tell tribe of nameless, ruthless cave dwellers the local Native Americans fear and avoid. Nonetheless, Bright Hope Sheriff Franklin Hunt (Kurt Russell), his elderly deputy Chicory (Richard Jenkins), and local gunslinger John Brooder (Matthew Fox) mount a rescue. However, foreman Arthur O’Dwyer (Patrick Wilson) is also determined to join the mission to save his wife despite a broken leg that has kept him off the work trail. It’s a dangerous ride with raiders, injuries, and rough terrain testing the posse’s prayers, convictions, and mettle – yet more primitive, gruesome, bone chilling horrors are in store…

 

Not Your Average Western

Flies buzzing” is the first caption of writer and director S. Craig Zahler’s (The Incident) two hour and thirteen minute festival darling, and those words set the tone for the throat slicings, body crunching, and bleak western horrors viewers aren’t supposed to see coming. This is just the lawless ways of the 1890s frontier – robberies and thieving never mind those skulls on torches and Indian burial grounds. The people in this era were gun belt wearing badasses, nothing more than the Wild West is supposed to be happening, right? Howling wolves and spooked horses invoke a western realism, and we expect to see this ironic but charming Old West gritty. The nearby Bright Hope pioneer town provides quaint Victorian interiors, polite men escorting women at night, and a laid back, boots up, playing checkers comfort. However, Bone Tomahawk has no rousing music and sweeping pans or thriving, progressive hustle and bustle to its town. Despite respectful and articulate mannerisms, there’s a gruff to these voices. The empty edge of white civilization is relatively silent with no ritzy to its saloon and a drunken piano player in need of whiskey to finish his ten cent tunes. Although side actions are told rather than seen, that hearsay unreliability adds to the lack of knowing what really occurred, and excising this surplus action builds surprise for when abrupt shootouts and violent confrontations do happen. Suddenly, missing livestock, mysteriously empty jail cells, and torn up bodies add to this isolated town’s crimes and scares.

Arrows in the dark and shadowy figures suggest Indian suspects to the frontier folk, but even friendly Native American scouts fear this no language, nameless troglodyte tribe with behaviors more beast-like than of men. Although everyone looks the part in Bone Tomahawk and we believe these rugged but civilized men forming a revenge posse can handle what’s out there, these old fashioned heroes on white horses are facing some untold, cave dwelling ruthlessness. Bone Tomahawk is very well acted with quality players audiences may not expect would do this kind of seemingly smaller western or horror fair. Hopefully, one recognizes a good script when he sees it, for time is taken to get to know these excellent characters as individuals. Strong banter and a period sense of courage add dimension among the not so unblemished men before the primitive horrors add new terror to the traditional western rescue. Prayers about the campfire, dry humor, personality – viewers quickly come to like these boys, and we’re rooting for them in a pursuit already struggling against the usual trail perils such as gangrene, raiders, and dead horses. There’s a simmering, on edge at night when the posse bed downs. We don’t know what’s going to happen next any more than they know what awaits in the dark. Will such ongoing strain and the agony of travel get to one of them? The exhaustion and hopelessness add tension, arguing, pointing fingers – this is a terse, escalating journey whether the troglodyte horrors are ahead or not. Difficult group decisions must be made amid cynical thoughts and suspicions on what heavy tolls are inevitably happening to the captured. Of course, those horrors are worse than the rescuers of Bone Tomahawk could ever imagine. Survival is slim all around, yet they forge on to face the intense man versus man, man versus nature, and man versus himself battles.

Nail-biting pocket watch ticking and ominous horns blowing in the wind make the audience pay attention as Bone Tomahawk switches from bright tumbleweeds, dangerous expanse, and western perils to dark caves, trapped interiors, sudden sieges, otherworldly screeching, and harrowing wounds. Yes, there is an hour and a half onscreen before the film horrors arrive – that’s the length of most quick horror productions. One could also argue there is no need for an entire movie’s worth of western study ahead of such horror. Some viewers may want to see the western in itself alone without a horror finale or vice versa. There are several flaws in the final act regarding logistics and implausibilities as well, but the onscreen terrors in Bone Tomahawk forgive any contrivances. We appreciate the deaths, sacrifices, and final cigars before the goodbyes more because we are totally invested in seeing these characters through whatever comes at them in final forty minutes. All that has happened is summed up in few terrifying sentences – arousing all our fears of violation, injury, and desecration and leaving all the heroics we have previously seen for naught. The unpleasant nudity will not be soon forgotten by anyone who sees this movie, and a countdown of kills adds to the hopelessness. Who’s next? The tedium of waiting is at times far worse, and silly discussions fill the interim between the unknown time when life and death is imminent. The horror and fantastics may be tough for the realistic western audiences to accept, however, Bone Tomahawk is a brilliant and complete before, during, and after emotional experience with rubber necking can’t look away and a realistically cringe worthy not often seen in today’s cinema.

A Fine Ensemble

Despite a calm exterior and seemingly quiet post, Sheriff Kurt Russell (Overboard) has the mustache to match the grit in Bone Tomahawk. Franklin Hunt is a wise, relaxed, old fashioned lawman who’s good at his job but nonetheless indulges his old deputy when a stranger’s manner is suspicious. Sheriff Hunt doesn’t think there’s much hope in rescuing those abducted, and his wife objects to the journey, too. However, he is going to see his mission through regardless. Hunt prepares as best possible – he knows they need to care for themselves, their horses, and keep their wits about them to trump any thieves or beasties and do what needs to be done. Polite even when the circumstances turn barbaric, Hunt also knows Arthur O’Dwyer shouldn’t come on this rescue with a broken leg, yet he doesn’t bother asking for the objection. Russell gives a wonderfully poignant performance, and it’s bittersweet to see a man unchanged, doing what he sets out to do, and keeping his word whether the beholden are there to know his convictions or not. Likewise, Patrick Wilson (The Conjuring) has become a pleasing go to horror actor. Arthur’s a strong foreman not used to being laid up at home thanks to injury – nor his doctor’s assistant wife being on top in the bedroom. Arthur doesn’t share his emotions well and has difficulty talking with her, but his love and tenderness are unquestionable. He rides on this mission, learning how to handle his broken leg and show his tears while on the move. Wilson brings to life Arthur’s contradictory behaviors as the desperate husband comes to rely more on opium than prayer to go forward. How can he continue as his injury worsens? We may not think of such breaks, splints, and pain as being so difficult today, but in this wilderness, love is not enough to mount a rescue – or is it?

Arrogant and vain but no less witty and likable gunslinger Matthew Fox (Lost) is the suave, white suit wearing sophisticate of Bone Tomahawk. John Brooder says he’s the most intelligent man there and this rescue needs his smarts, fast shot, and fancy gunnery. Though not always as right as he thinks he is, there is a grain of truth to his tactics when it comes to making camp or taking defensive positions. Unfortunately, his suspicions on outsiders, potential theft, and his shoot first, ask questions later mentality doesn’t always help. Eventually, there are consequences to this quick draw attitude, and while he has good reason to hate certain Indians, Brooder gains sad respect for his horse and learns to trust his compatriots. By contrast, aged deputy Richard Jenkins (Six Feet Under) is not on his game but Chicory will continue to do his duty nonetheless – even if he can’t figure out something as simple as how to read a book in the bathtub without getting the paper wet. He talks too much, sometimes adding dry humor and reflection or philosophical speculation, but again, such seemingly random conversation helps fill the idle and take one’s mind off the impending horrors. Chicory is slightly off his rocker yet remains the voice of reason and moral center of the group – a lovely audience anchor pondering what we too are thinking. Although their scenes may seem slightly out of place, humorous but ruthless and hands on killer David Arquette (Scream) and expert throat slitter Sid Haig (House of 1000 Corpses) have some warped fun to open Bone Tomahawk, and their offbeat charm bookends the horror.

Fine older white men though they are, Bone Tomahawk is unfortunately a picture populated with precious few women. Despite being a respectable wife and doctoring assistant named Sam, Lili Simmons (Banshee) is nude fifteen minutes into the movie and feels out of place compared to the more developed male characters. Broadly swinging the pendulum from tender wife to bitchy snob, Sean Young’s (Blade Runner) uppity, domineering mayor’s wife is addressed on the situation instead of her little husband. These frontier women are tough pioneers yet remain sickly or put in their place with sex from their man, and even with these injun abducting the womenfolk fears, the audience sees too little of them to feel a personal investment. Big shocker – the few African American stable hands and servants are killed early in Bone Tomahawk, and Mexican moments or brief Spanish words are treated with xenophobic suspicion. Horses are more important than questioning the death of foreigners, but there are onscreen arguments about whether such reactions are right or wrong, fortunately utilizing the ills of the time for layered social commentary. More importantly, Bone Tomahawk makes the distinction between its horror neanderthal savages and local Native Americans, recognizing this is not normal tribe behavior whilst also implying the Manifest Destiny trespassing of the so called Bright Hope should have left the area alone. Locals knew to steer clear, but did the supposedly smart and superior white man? Nope.

 

Must See Looks

Old fashioned suits, cowboy hats, and late Victorian décor add to the frontier town woodwork and simplicity in Bone Tomahawk. Proper beds and an oil lamp patina with quills, books, a magnify glass, and period ephemera create a would be civilized and golden interior. I almost wish this was a television series to revisit and explore! However, natural sounds, horses, creaking wood, and swinging saloon doors add a lawless atmosphere alongside the beautiful, but untamed outdoor scenery. Precious few weeping strings and fiddlery accent choice bittersweet moments and echoing gunshots. While animal action, well edited attacks, and on the move tracking shots do capture the restlessness when it happens, Bone Tomahawk is a simple tale simply shot with no need for the sweeping panoramas and whirlwind camerawork often seen in expansive westerns or period pieces going for scope rather than inward terror. Gruesome frontier surgeries, scalping, disemboweling or worse provide enough horror gore while the briefly see beastly men leave room for the audience to imagine more fears. Their natural camouflage, animal trophies, horned masks, and primal, swift moving resistance to bullet grazes completes the disorienting civilized versus uncivilized frights. Subtitles are necessary for any whispering, but the Bone Tomahawk blu-ray release also provides plenty of deleted scenes, featurettes, and film festival Q&As with cast and crew. Unfortunately, it is just baffling when finely crafted pictures such as this are overlooked by the major movie awards. Tsk tsk.

Though worth seeing for the uniqueness alone, this R/Unrated horror is not for everyone. Instead of a cheap slasher with teens in minimum Victorian dressings, this is a niche western brimming with scares we don’t expect. Granted, Bone Tomahawk has many of the same flaws seen again and again with a one and the same writer/director who has no soundboard on what to do or not do. The lengthy run time could have been trimmed further and some scenes should have been more swiftly paced. Bone Tomahawk is also oddly structured as two halves of two different movies – leading with a western character study uninteresting to audiences expecting fast shootouts, boobs, and horror a minute. In fact, most viewers will be unaccustomed to having time dedicated to such full embodied and well developed characters. However, we should embrace this kind of ingenuity not bury it and push pictures like this to fringe audiences, and I would rather have a few slow scenes with extra time to achieve a cinematic vision than a butchered PG-13 picture sacrificing its meaty for maximum cinema screenings and more almighty millions. Despite a blink and you missed it limited box office release, Bone Tomahawk is currently available on several rental and streaming options. Go into Bone Tomahawk cold for full immersion into the fine performances, western drama, Deliverance effectiveness, and entertaining horror.

 

David’s Haunted Library: Two from Crystal Lake Publishing

Ugly Little Things: Collected Horrors by Todd Keisling is a collection of stories that explore what happens when people are pushed to their limits.The first story called A Man In Your Garden sets up the anthology perfectly. It’s about a man who believes a stranger is standing on his lawn. The man is scared but is there, someone, really out there or does he have an overactive imagination. I love how this story shows that sometimes we are our worst enemy.

Another good story here is Saving Granny From The Devil, this is a coming of age story where a young kid name Todd gets help from the devil. Flash forward a few years and the devil is coming for Todd’s Granny and Todd makes a deal to save her. The problem is that while Todd’s heart is in the right place, he may have made the wrong decision. We then see how his actions affected his life and his Granny’s. What I like about this story is the idea presented that love lasts forever and maybe the devil isn’t such a bad guy. Todd Keisling shows that he has a gift for creating deep characters that you can’t help but care for even when they do wrong.

My favorite story in this collection is When Karen Met Her Mountain. Karen comes from a religious father who recently died and not too long ago she had a miscarriage that she hasn’t mentally recovered from. Tragedy strikes when a religious cult shows up and kidnaps her husband. The Cult is messing with the wrong woman and Karen is going to make them pay.  I liked how you see Karen’s personality change as she hunts down her victims and then towards the end we find out that her therapist believed something like this would happen if the wrong trigger was pulled. The ending of this one really surprised me, this is a woman pushed to the edge and comes out stronger and more vicious.

The last story in the collection is a novella called The Final Reconciliation. It’s about a progressive rock band called The Yellow Kings, four kids with big dreams set out on their first tour. Little did they know that their first album would only be heard once and would cause the death of nearly 200 people. This story is a twist on an old mythology and a story of four kids achieving their dreams and worst nightmares at the same time.This is another coming of age story as the kids are working to leave the rough backgrounds that they come from.

Ugly Little Things is a book about the human spirit but the human spirit doesn’t always triumph. Even when you get what you want there is a dark side to it and that’s what Ugly Little Things is about. This is a book that’s shocking and disturbing but most of all it’s a look at what happens to people when they can’t handle the horror of life.

We’re all fascinated by things that are strange, odd and just plain different. Behold! Oddities, Curiosities and Undefinable Wonders edited by Doug Murano is an anthology that embraces weirdness. When you start reading this book you know to expect the unexpected from the first story. In Larue’s Dime Museum by Lisa Morton. The story follows a woman who is obsessed with the past and finds two photos that transport her back in time. I loved how this story opens leading you to believe it’s about a circus style sideshow. Then you start to realize it’s really about a photographer and a woman who wishes to be in another time. I loved the descriptions of the setting and hearing about the woman’s daily routine and how she sees the world around her.

Another good story in this anthology is Chivalry by Neil Gaiman. In this story, an old woman finds the holy grail in a second-hand store and before long Galaad comes on a quest to bring the grail to King Arthur’s Knights Of The Round Table. The woman does not want to give it up. Galaad keeps coming back with extravagant gifts and finally offers three gifts to the woman and the woman accepts two in exchange for the chalice but the one she rejects is a huge surprise in the story. I love how the woman rejects the gift and her reaction after Galaad leaves her. At this point you are left to wonder is she crying because she liked the attention from Galaad or is it because she really wanted the third gift. This story is a must read.

Another good one is the Wildflower, Cactus Rose by Brian Kirk. This is a completely original story about a woman who goes in for surgery to take care of a sleep apnea problem. She comes out mutilated and thinks her life is over. Her new gifts seem to change her life though as she finds it easier to do the right thing.  There is a good message in this story about how the way you look doesn’t affect the life you choose. In reality, it’s our attitude that either draws people to us or pushes them away. The world is a mirror, you see what you want to see.

This book is full of great stories and one of the best is Clive Barker’s Jacqueline Ess: Her Will and Testament. This is an odd story about a woman who almost dies due to a suicide attempt. She then discovers she can make men do anything she wants and kill people with a simple thought. This one is fascinating because it is told from two perspectives and there is a bizarre love story involved. This tale can be described as a journey as you watch Jacqueline change as she understands her power and you watch the men around her change as they figure out what she can do.  Behold! Oddities, Curiosities and Undefinable Wonders is a speculative fiction anthology that is a must read.

http://www.crystallakepub.com/

 

FRIGHTENING FLIX BY KBATZ: TEEN HORRORS

 

 

Summer Teen Horrors

by Kristin Battestella

 

Prom, dolls, murder, and monsters – will teens never learn?

 

The Blackcoat’s Daughter Haunting melodies, terrible news, and subtitles like “silence” and “eerie ambiance” open this chiller from director Oz Perkins (I am the Pretty Thing that Lives in the House) along with suggestive lion and lamb lyrics, crosses on the wall, priestly substitutes, and father figure innuendo. Rather than emo angst, the bad girl pregnancy scares and awkward acting out are handled maturely, with a Picnic at Hanging Rock weirdness. Dark filming against bleak windows or open doors makes us unsure what side we are on, capturing the dreary mundane as two girls are stuck at school during winter break. The intertwining build of events may be slow to some, but each act follows one girl in distorted, compelling vignettes. Common bathroom echoes and creaking doors add to the spooky orange boiler room and what we think we saw contortions while change for the pay phone, maps, bus stops, and red tail lights create helplessness and traveling dangers. And you know, parents saying a teen can’t have one has to be the best excuse yet for a lack of cell phones. Who stole the laptop? Do you trust the stranger offering a ride? Is being happy an ulterior motive or will the god-believing good Samaritan find it is the devil that answers instead? These young ladies are filmed not for titillation as in slasher T-n-A horror but with a sense of innocence and fragility. Rather than in your face mayhem, suspect conversations, sinister changes, and non-linear storytelling give the audience intriguing pieces of creepy doubt. Is a crazy student after the headmaster’s attention or is that really a reflection of horns and a shadowy devil in the frame? The surreal atmosphere makes viewers peer deeper at the screen, wondering if the devil, possessions, or unreliable impressions are playing tricks on us. Editing splices match the bloody stabbings, with nonchalant mentions of forensics having to find which head matches which body. Static, distorted voices, and vibrating sound invoke more unease amid an isolating, hoodwinked power of suggestion. The audience sees the reaction on a police officer’s face rather than the terrible shocks he witnesses – doing the worst horrors imagined with a subtle reveal instead of pulling the rug out from under the viewer and calling it a twist. Although spoon fed audiences may want answers immediately instead of open to interpretation confusion and arty pretentiousness – Perkins may need an outside eye on his writing and directing to clarify this pizzazz for the masses – once you wrap your head around it, this is a straightforward story taking its time with a unique mood and special characters for full gruesome effect.

The Boy – Eccentric British parents hire a babysitter for their son – who just happens to be a doll – in this 2016 bizzarity. There’s padding opening credits driving the young American woman in a foreign country to the kid horrors, because of course, and there’s a no wif-fi, no neighbors phone call to her sister about a nasty ex, too. Fake boo moments, dream shocks, and phantom phone calls are unnecessary, as is the psychic grocery delivery man who reads gum and guesses wrong. I kid you not. The introduction to the little doll – err son is laughable as well, but our nanny must play along with the well paying delusion and make sure he sits up straight during their poetry lessons. Creepy portraits, strange noises, prayers, thunderstorms, and taxidermy create an eerie atmosphere for this warped hook while a great Canadian castle stands in for the cluttered English estate. Old toys, phonographs, candles, windows painted shut, and traps to keep rats out of the walls add to the freaky doll moments, but our babysitter waits until the doll uncovers itself and the stereo-typically locked attic doors open by themselves before following the house rules. She also never bothers to explore or investigate, but there’s an obligatory local who knows the dead little girl past and eight year old died in a fire back story – tossing in cliché details along with lost pregnancies, love triangles, and taking a shower trite. If you’re going to go into the ominous attic in nothing but a towel or have a doll listening to the sex in the next room, then don’t be a soft PG-13 but embrace that winking R. The eponymous frights should be stronger, and although we smartly don’t see any silly doll moving effects, the traditional filming style doesn’t do justice to the oddity. Rather than embracing the bizarre bonding afoot, the standard horror formulaic wastes too much time – this unusual premise could really shine if the flip flopping world rules didn’t detract from the aloof charm. A WTF siege veers the finale into something more preposterous, calling it a twist while holding back as late night horror lite for people who haven’t already seen any similar scary movies.

Lights Out This 2016 feature adaptation of the popular 2013 short is still a little short itself at eighty minutes and keeps restarting with a working dad on skype, mom talking to herself, a little brother not sleeping, and a bad attitude big sister with a sensitive rocker boyfriend. Fortunately, employees locking up for the night lead to crackling electricity and shadows that blink closer with each flick of the light switch. What would you do if you turned out the lights and saw a silhouette that isn’t there when the lights are on? We know something is in the dark, but not what, and the old school light means safety rule works amid the almost GIF-like now you see it now you don’t. Ominous tracking shots, red spotlights, neon signs flashing, and black lights create enough mood without unnecessary transition pans, bones cracking, and scratching sounds. A young boy with spooky afoot and a mother who may or may not be crazy are more interesting than time wasting millennial emo, and Maria Bello (A History of Violence) as the unstable wife dealing with shadows real or imagined a la The Babadook should have been the lead here. Naming the shadow, having her talk, and the constantly changing backstory gets laughable at times – as do slides across the floor and zooms on the ceiling. The research montage is a convenient home office snoop for a cassette tape from the doctor and a few photographs with retro jumpy footage snips patchworking the light sensitivity, skin disorder, institution experiment gone wrong, and psychic ghost happenings. There’s inconsistent UV light and physicality excuses, too, but if you aren’t going to give the audience a concrete explanation – i.e. saving it for the inevitable sequel – then there shouldn’t be any attempted information at all. Is this multiple personalities, a basement relative, or a childhood lez be friends BFF that won’t let go even in death? Why not call in the institution doctor or present your evidence to the sniffing child services instead of just yelling at your mother? There’s a kid so afraid he’s sleeping in the bathtub with the flashlight shining on his face, something’s tugging on mom’s sweater from behind the door, and quality under the bed threats rekindle timeless fears. There’s no need to add convoluted characters or ever leave the unique Tudor house standoff, yet one can tell where the trite dialogue and thin story were stretched to appeal to the mainstream teen horror public – complete with an L.A. setting, rich white blonde people, and a made stupid black cop and his Hispanic female partner. The short film didn’t have to explain its narrative the way a feature does, and this isn’t the worst recent horror film, but the good ending is a little too quick, playing it safe, serviceable, and ticking the standard contemporary horror boxes rather than really zinging. One should either stick with the original short or take this as a separate late night chiller for full bump in the night enjoyment.

 

Prom Night – Talk about kids being cruel! Morbid child’s play leads to deadly chases in this 1980 slasher – complete with one brat making the others swear to never tell, pathetic still seventies dudes, ugly vans a rockin’, station wagons, transistor radios, drive-ins, and obscene phone calls. Remember those? Although a few silly voiceovers could just be said out loud and some of the intercut flashes dump information in a quick reset, we know who is who for this eponymous anniversary vengeance. Six years later the killer has the names on his list and he’s checking them twice amid whispers of neighborhood sex offenders, creepy janitors, and mirrored innuendo. There’s terrible matching stripes, flared bell bottoms, knee socks, feathered hair, and side ponytails, too – not to mention escaped mental patients and a fatherly cop not telling the locals what’s afoot. This all must seem like Halloween deja vu for twenty-two year old high schooler Jamie Lee Curtis! Disco ball glows and red lights add flair, and there’s a sardonic humor with principal dad Leslie Nielsen (The Naked Gun) so awkward on the lit up floor before the big dance off, oh yeah. If there was going to be a Saturday Night Fever nod, they could have at least sprung for Bee Gees music instead of generic disco that’s honestly a little late. The prom king and queen ruses are i.e. Carrie as well, however these snob teens deserve what’s coming to them. How can a guy say he loves a girl when he helped kill her sister? We may laugh at some of the sagging datedness or bemusingly preposterous – violence in the gym showers and nobody in the school gives a hoot? However, a lot of horror movies and teen flicks are still using these borrowed staples. There’s a sense of small town swept under the rug paralleling the prom and sex calm as the ominous school hallways escalate to bloodied virgins in white dresses, lengthy slice and dice chases, rolling heads, light show disasters, and fiery vehicle attacks. This isn’t super gory and there’s no groundbreaking horror effects, but the well filmed checklist vignettes and shrewd cut corners editing build suspense alongside the red herrings and obvious killer guessing game. This isn’t super intellectual on the mentality of the killer or the full psychology of the crimes, either, but the misunderstood whys and psychosis seeds suggested continue the conversation long after everything plays out right on the dance floor with a power ballad topper.

 

#NGHW News Episode #143

Hello Addicts,

This episode opens up with a little more sad news. We are down to eleven contestants now. Timothy has now left us. But hopefully it will not be the last we hear of him.

We do still have our Evil Eleven and competition is getting fierce.

Episode #143 brought us some true stories of horror that the contestants personally experienced. And the mini prize was full publication on this very blog.

So, let’s get straight into this episode’s seven semifinalists, shall we?

  1. Black Death by Naching T Kassa
  2. A Day at The Beach by Harry Husbands
  3. Calling The Dead by Cat Voluer
  4. Sin Scope by JC Martinez
  5. Into The Grave by Daphne Strasert
  6. My Life as a Young Adult Urban Horror Heroine by Sumiko Saulson
  7. Dogs and Sand by Jonathan Fortin

It is so important for authors to blog, these days, and it is good to see such talent and honesty in our Evil Eleven. It is difficult for most people to be honest and open with someone that you are close to, let alone be open and honest with the world. And that is what the contestants have demonstrated here.

Unfortunately, we only got a snippet as always, but I think it was enough to get a feel for the piece and the writing style. Plus, we got to hear our authors’ voices, real voices. They spoke about why they deserve to be the next great horror writer, and the difficulties they have had to face.

Next episode will show the 8th challenge. It is a 900-1000 word Horror Character description. The Eleven have to describe an original character in a story telling way. So, it cannot sound like an instruction manual. The winner of this challenge will have the amazing prize of having their character brought to life by the amazing Anime artist Alyssa from Pixel Ghost Creations. Seeing their character in front of their eyes and not just in their head would be amazing.

Which brings me to the question I asked the contestants this week. I asked the contestants about book covers. We all know that old saying “Don’t judge a book by its cover” but do any of us actually follow this? As exciting as it may be for an author to see their characters brought to life, having a character on the cover of a book can be distracting and, sometimes, deceiving. Here is what some of the authors think.

“I’m picky about book covers. I know they say not to judge, but you only get one first impression. If an author (publisher, etc.) took the time to create a good cover, then I assume they took that same care with the story inside. I love covers that show a character, but only if they’re well made. I’m not a fan of stock photo manipulation. Artist renderings (like those for Patricia Briggs’ novels) are my favorite.” Daphne

“Graphic design is my day job, so covers are definitely very important to me!
As far as the design of the book covers, I think whatever fits the story best is a-okay. If your cover shows a character–great! If not–that’s great, too! But the readers should definitely get a sense of what your novel is about based off its cover.” Jess

“I think readers often make determinations about whether or not to buy a book based on its cover. When I answer calls for submissions for anthologies, the cover art is often a factor. The cover art for Mocha Memoir Press “Death’s Cafe,” Colors in Darkness “Forever Vacancy” and HorrorAddict’s “Clockwork Wonderland” attracted me to those anthologies – I have work in all three.” Sumiko

“I look at a book cover much like an album cover. A bold exciting cover will get people’s attention, holding that attention is then all up to the content. Put shiny wrapping paper on a gift it’ll catch people’s attention but what’s inside is what they’ll remember. No one remembers the wrapping paper once the gift is opened, all they remember is what was inside.” Feind

“Book covers are very important. Even though they tell you not to judge based on them, covers are what catch your eye, and in a world where there are so many choices, covers are the first thing that sets your book apart from others.
Truth be told, I’ve never given too much thought to character-centric book covers. I think the most important for me is that a cover has an understanding of the content of a book, and accurately conveys it with simple yet powerful images.” JC

“They say you shouldn’t judge a book by its cover. Unfortunately, many people do. Most won’t even read a book unless the cover intrigues them. Good art does a lot for a story. Bad art can hurt one.
Suppose you’ve written a story about a brave Knight battling a dragon and you illustrate it yourself. Unfortunately, you have no talent when it comes to dragons. Every time you draw your cover, the dragon resembles a mutant spider fighting a stick-figure with a top hat. You publish the story with said cover and no one buys it. Do you need to wonder why? Bad art shows a lack of quality. It’s a disservice to your work. You may have written the best thing in the world but no one will touch it because they think it’s about a man with a hat walking his spider.
By the way, this never happened to me. If it did, I was much younger and my access to art supplies consisted of three crayons, two of which were broken.” Naching

“I am so picky about book covers. I LOVE pretty book covers but ugly covers can detract from the entire experience of reading or make the book seem less professional. I can’t stand covers where we see the character, but not their eyes or forehead. Or only from the neck down. Anonymous Naked Man Chest is also a variety of this. Some of my favorite books have decidedly boring covers (American Gods, Perdido Street Station, Name of the Wind)–covers that aren’t necessarily BAD but aren’t exactly GREAT either. On the other hand, when I see an absolutely BEAUTIFUL cover it makes me want to buy the book. Original, well-crafted, aesthetically pleasing works of art created specifically for the book are my favorite.” Jonathan

What are your thoughts on book covers? Do you agree with any of the contestants?

Our finalists this episode were Harry, Daphne and Jonathan. And don’t forget, addicts, that every challenge brings points to every contestant. The points are close and the big prize of a publication contract could still be anyone’s. You can check out the overall scores here.

Without further delay, if you didn’t already know, I will reveal this episode’s winner. #TeamDaphne got her first win of the series! Congrats to you, Daphne! You can go and read the whole blog post right here.

Come and join in the discussion at the HorrorAddicts.net Facebook page, a community of freaks, weirdos, goths, vampires, and general horror fanatics. We’d love some fresh meat. (insert maniacal laughter here) but seriously, come and have a chat, talk to the contestants and the staff and other addicts in the community.

Until next episode, Addicts, stay spooky!

Hugs xxx

Adelise

FRIGHTENTING FLIX BY KBATZ: MORE KID FRIGHTS!

 

More Kids and Family Frights!

By Kristin Battestella

 

Because there are just so many tales of twisted teens, killer kids, and paranormal abnormalities!

 

Alice, Sweet AliceFrantic Hail Marys, church bells, rectories, and crosses in nearly every scene steep this 1976 slasher in layers of iconography alongside matching yellow jackets, similarly named long hair lookalikes, sisterly favoritism, and saint versus sinner parallels. Little Brooke Shields (Suddenly Susan) is fond of her priest, goes to confession, and is gifted with a crucifix necklace while twelve-year-old Paula Sheppard (Liquid Sky) wears a mask to scare the cook. The ceremonial crown, veil, and white dress feel medieval bridal amid the Latin sanctity and old fashioned Sunday best formality – composed women in hats, gloves, pearls, and Jackie O suits are soon hysterical once murder blasphemes the sacred within its very walls. Creepy hints of the strangling attack, feet dragging beneath the pews, and a charred fate intercut the kneeling at the altar and passing wafer, turning the white confirmation into a black funeral. The uptight roosts point fingers, cast blame, and belittle husbands, but the parents are also too busy to notice the gluttonous downstairs neighbor obsessed with cats promising not to bite Alice if she visits him. Out of wedlock, divorced, and remarried taboos squabble while hidden periods and no longer playing with dolls maturity layer the well-done shocks and mask scare. Intense lie detector tests, cold yes or no questions, and scary needle movements add atmosphere along with thunderstorms, bugs, and basement hideaways. This murder acerbates a preexisting family strain, and such repressed attitudes would almost rather there be a grief approved death than admit to potential schizophrenia problems. Retro cameras, typewriters, big phone booths, classic cars, old school police, and formal psychiatrist interviews reiterate the mid-century rigid while prank calls, cramped stairs, and penetrating stabs invoke a frenzied response with violent twists. Do some of the victims get what they deserve? Confessions, warped revelations, mother Madonna saintly and Magdalene whore shaming cloud the case, and the children pay for the sins of the father indeed. This is a taut little thriller with fine scars, mystery, and parables made horror.

The Cabin in the WoodsBradley Whitford (The West Wing), Chris Hemsworth (Thor), and more recognizable faces anchor this 2012 horror satire written and produced by Joss Whedon. Droll corporations and mysterious technological surveillance parallels the intentionally cliché coeds off to a lakeside weekend – the blonde, a jock, a virgin, the fifth wheel jester filled with zany pot wisdoms. Naturally, the GPS goes haywire amid retro Rving, backwoods confrontations, throwback tropes, and nods to old school slashers. The hokey isn’t meant to be taken seriously, but eerie mountain tunnels and hidden systemworks add suspicion. Though at times cryptic for cryptic’s sake, it’s pleasing to have the experiment aspects up front – trick paintings, double mirrors, camera observations, and a cabin that’s bigger on the inside than outside. Useless scenes, comedic quips, and windblown characters that delay rather than inform are annoying, and the attempted Buffy for the big screen tone is apparent with social commentary and upending the genre expectations. Ironically, these Initiative knockoffs never feel urgent or dramatic. Some viewers may wish this was either straight horror or totally from the scientific parody perspective. The global fright-creating branches are often more interesting than the typical teens disregarding warnings to not read Latin aloud amid zombies, free for all monsters, fun house mayhem, and meta on meta horror that plays into stereotypical scares just as much as it lampoons them. Fortunately, a self aware attitude adds intrigue – despite being up to something sinister, the technicians cast bemusing bets and celebrate their wins over predictable spooky cellars, creepy antiques, fanatical pasts, and ominous diaries. Occult prayers, bloody rituals, and creative set piece kills accent the inevitable price to be paid. While slow to start for longtime horror viewers, often silly or derivative, and uneven in its multi-layered execution, the familiar ensemble has a good time with this spooky puzzle. Youthful audiences tired of the same old scary movie banal or casual, horror lite fans can enjoy the uniqueness here.

 

PhenomenaJennifer Connolly (Labyrinth) and Donald Pleasence (Halloween) star in this 1985 Italian production from director Dario Argento along with Walkmans, a giant computer, overhead projectors, retro school buses, huge headphones, big boob tube TVs, off the shoulder sweatshirts, and crimped hair. The horseshoe phones are so hefty one breaks through the floor when it falls, and top heavy metal names such as Iron Maiden anchor the score. Pretty but bleak Swiss scenery, foreboding roads, suspicious chains, and an isolated cabin speak for themselves with blood, shattered glass, cave perils, scissor attacks, and strangling violence contrasting the rural vistas and scenic waterfalls. The on the move camera tracks the scares, panning with the staircases, chases, and penetrating knives rather than hectic visuals working against the action – leaving heartbeats, ticking clocks, and rage music to pulse the frenetic dreams. Congested tunnels, dark water, and rotting heads build tension alongside sleepwalking shadows, blue lighting schemes, and saintly white symbolism. Insects, monkeys, and bizarre medical tests collide with missing teens, amnesia, and an old school sense of being lost in the foreign unknown. Despite the young protagonist, the horror remains R without being juvenile or nasty. Although necrophilia and rape are implied amid girls in short shirts, dirty old men, and killer penetrations, the innuendo isn’t like today’s overt teen T-n-A exploitation. Doctors and a strict headmistress suspect epilepsy, schizophrenia, or drugs before the otherworldly but friendly communication with animals – cruel schoolmates and religious extremists view such talents or swarming commands as demonic rather than embracing the literal fly on the wall fantastics. Would you follow bugs to the scene of the crime to see the decomposing victim through their eyes? The notion to be in tune with nature and commune with insects as allies is unique in a genre usually reserving such crawlies for scares, and cool bug eye viewpoints, covered mirrors, freaky dolls, and maggots accent the deceptions, twists, and escalating revelations for some gruesome surprises and a wild finish. And oh my gosh there is a classmate wearing a Bee Gees t-shirt. Want it!!

Tale of Tales – Salma Hayek (Frida), Vincent Cassel (Black Swan), Toby Jones (Infamous), and John C. Reilly (Chicago) star in this international, R rated dark fantasy bringing three Italian parables to life with medieval castles, vintage plazas, and divine forests. Colorful period costumes add to the carnival atmosphere amid jugglers, fire eaters, and traveling wagons entertaining at court. There is, however, a sinister to the bemusement with youth and beauty versus old age, life and death bargains, nudity, and sexual undertones. Parallel fates, duality, and mirror imagery accent the charlatan fortune teller promising a sea monster’s heart cooked by a virgin and eaten by the queen will ensure pregnancy. Good suspense, underwater effects, gory slashes, choice red, disturbing violence, and bloody carcasses escalate the action without making the fantasy a ridiculously overblown spectacle. Ogres, funeral processions, albino twins, and creepy old ladies share in mystical connections, enchanted springs, separations, and temptations. Precious offspring are mere extensions of their parents’ rule, but man that is one freaky giant pet flea! We don’t notice the two hours plus length thanks to unexpected circumstances, ironic riddles, and brutish suitors. This is a beautiful looking movie with a little bit of everything remaining entertaining even in its darkest moments with caves, terrible bats, and deceptive appearances. Changing one’s skin may not change what’s inside, but some people will help or hinder fate for their own selfishness and there are consequences for trying to change what’s meant to be. This is sad at times and not scary for many – most may not like the collected meanwhile in the realm style either. However, Hollywood would Princess Bride frame these Basile tales with narrator bookends toning down the brutal and not shy with a Disney gentrification. This is period accurate and elaborate for adults but no less a fantasy with darkness and charm bringing the well paced, quality stories full circle. The lessons are learned without being as exploitative or nasty as Game of Thrones, and I wish there more mature baroque fantasies like this instead of the same old cutesy.

David’s Haunted Library: Whispered Echos and The Devil’s Children

We all have something we’re scared of. In the back of our heads, we hear a little voice that reminds us about our darkest fears. It’s like a Whispered Echo that just repeats itself over and over again. Whispered Echoes by Paul F. Olson is an anthology that looks at things that scare us so much that we never forget it. This book contains 12 stories set in Michigan’s Upper Peninsula showing it as a place where strange things happen.

What’s interesting about this anthology is that the stories are presented in chronological order by the dates that were written. The first story was originally published in 1983 and the last one was written this year. So what you have in this book are stories from a horror writer who’s writing improves a little with each tale told. You also get a good look at what goes on in the mind of Paul Olson and how he has evolved as a horror writer.

Mr. Olson has a few different themes that he works with in this book. One of these themes is individuality. In a story called The Visitor, a man visits the town of Patterson Falls every year in Autumn and when he does, someone gets hurt. The people in town finally get fed up with this routine and decide to confront him but they don’t get the results they are looking for. This same theme comes into play in two other stories in the book with a man suffering the consequences of not being like everyone else.

My favorite story in this book is They Came From The Suburbs. You could call this a zombie story but its a little more complex than that. David Finley works in a mall and notices that the same people show us every day and seem to mindlessly wonder the mall and shop. He calls them the quiet ones but he soon finds out that if they can’t consume anything there will be hell to pay. I love the message about how some people go through life blindly doing things having no real life at all and how it affects others. This was a perfect little horror tale that had a Twilight Zone feel to it.

Another good story here was Bloodybones which includes ghosts, a serial killer and a mystery. What I liked most about this story is the descriptions of the setting. Michigan’s Upper Peninsula is as much a character here as the people in it and I loved reading the description of an area that I’m familiar with. Olson’s using of Michigan and Wisconsin in his stories reminds me a little of how Stephen King uses Maine in his stories.

Whispered Echoes could be looked at as a philosophy book disguised as a horror anthology. Paul Olson writes about staying true to yourself, loyalty, love and not letting the past define you. These themes are all presented in short horror stories that pack a punch. This is the kind of book that young horror writers should read because it shows that good horror can deliver a  message and your writing will get better over the decades if you stick with it.

Harry and Adam grew up together in a small New England town. They were never the most popular kids in school but they had a good time watching horror movies, drinking alcohol, exploring abandoned buildings and hunting imaginary demons. Flash forward to the present, life is not going well for either person and they decide to move back to their old hometown to relive their childhood. When they get there they discover that something strange is going on in their old stomping grounds.

People are seeing ghosts, Adam is having visions of his old teenage girlfriend who has been missing for 13 years and a local historian has sealed off a newly discovered tunnel that may have the answers to some old mysteries. We soon find out the demons that Harry and Adam hunted may have been real and they may be the only ones who can stop these strange happenings. As Halloween night rolls around, Harry and Adam put a plan into action to stop the evil that is plaguing their town.

The Devil’s Children by Benjamin Blake is the kind of book that I love reading. It’s a simple horror story about a couple of outcasts who notice something strange is going on and realize that they are the only ones who can stop it. I love the characters in this book, Adam and Harry reminded me of a couple of people I knew in high school and the way they both changed by the end of the book showed that they had a lot more depth than your average character in a horror novel. I also like how the story is told from the present with flashbacks showing how they use to be in the past. The one thing I didn’t like about the book is that it seemed to take a long time to get into the action of the story. While I liked the characters enough to keep reading, it could have used a few more scares in the first half of the book. The Devil’s Children is sort of a mixed bag but it has enough good parts to make it worth your time. Despite what I didn’t like about this book, I’m still looking forward to what else Benjamin Blake comes up with in the future.

 

 

 

FRIGHTENING FLIX BY KBATZ: SUMMER VAMPIRES!

 

Summer Vampires, Oh My!

By Kristin Battestella

 

It’s SPF 1000 for these pale undead tales!

 

A Girl Walks Home Alone at Night – The black and white patina of this 2014 Persian language spooky invokes a specific fifties or spaghetti western mood. Retro cars, big old TVs, and greaser styles are transposed to a modern, mid-century rundown and post-industrial bleak with kids begging on the street, unusual hookers, an old man injecting “medicine” between his toes, and icky drug dealers. Arash is already paying for his father’s mistakes and taking guff from the rich – but a deadly vamp with a demonic voice and a belying angelic appearance rolls into town, cleaning up Dodge and making things better for the downtrodden. Fine scoring with carnival music touches and rhythmic, edgy throwbacks contrast the stillness and topsy turvy gender roles, for the fallen pimp, collapsing father figure, and absent mothers have created a vacuum for our eponymous mystery and the dark power hidden under her chador. We know the fangs and deservedly gruesome will happen amid the slow build drama or drug and sex frenzy but not when, leaving brief squishing effects, mild blood splatter, and attacking crescendos to speak for the minimal dialogue. A well-behaved stray cat parallels the titular feline predatory, yet sardonic skateboarding adds humor. Arash dresses up as Dracula, gets some bad ecstasy, and meets the real thing but retains his innocence and kindness among the cruelty – the simplicity of homemade ear piercings is much more charming compared to today’s wham bam sex or moon eyes romance. It’s an unconventional mix of straight drama and simmering horror, however at times writer and director Ana Lily Amirpour seems unsure which storyline is priority. The quirky vignettes and dialogue are nice while other scenes are pointless and the silence or music does more. This should have been a short feature or a limited series – viewers want to know The Girl better but this picture can’t rely on earlier unseen shorts or companion comic books. With 100 minutes to fill here, the structure should have been tighter, perhaps with labeled character chapters and our vamp in both senses of the word connecting them. A sagging middle dampens the impact of critical scenes, and this feels more indie cool than truly foreign film – it’s almost faux foreign with no real cultural references. Audiences accustomed to frights a minute will also be disappointed in the handful of horror moments amid the isolated interplay and justifiable girl power. Fortunately, this unusual world gets better as the protagonists go forth. Her bad frees his bad, is that a good or bad thing? There really should be a vampire drama category, and despite its flaws, this unique tale using horror to address social contradictions is worth a look. And there’s a Bee Gees poster, people. ¡The Bee Gees!


Kiss of the Damned – This 2013 vampire tale feels much older thanks to a seventies style opening, video stores, Old World names, European accents, retro clothes, and bonus Montgomery Clift movies on the television. Ominous music, moody candlelight, and a bleak seaside house foreshadow the blood spilling to come, and the property comes complete with an un-tempting, blood disorder maid taking phone messages for her mistress – a lonely translator who’s never available during the day and indisposed until evening thanks to a “medical condition” where she can’t be exposed to sunlight. Wink. Intercut, handicam vamp violence and edgy, intrusive music or over-emphasizing flashes, however, are unnecessary, and melancholy pain with choice pop moments or ironic classical cues do better. Blue lighting, headlights, and golden interiors accent nighttime filming, creating a stylish mature alongside the frank conversations addressing how to chain a girl to the bed. Sexy turned killer teeth, wild eyes, askew angles, and violent thrashing elevate the alluring but dangerous as the heavy petting escalates in spite of the consequences. Reluctant Djuna knows this romance could be doomed, but Paolo wants to get sucked dry at both ends. (¿¡?!) Such erotic yet creepy may be too weird for some, but this realistic vampire relationship is refreshing and fast moving – the vampire turning happens early and the entire picture isn’t a dying for love question. More time is taken for the lifestyle details on living forever, heightened senses, and the charming couple that preys together stays together. Problematic sisters and centuries old sibling rivalry parallel the role reversals and too good to be true good vampire behaviors. Biting on the club scene versus love and living posh, sisters forgetting their mother’s face, cocktail parties and a close-knit vampire community discussing why inferior humans reign and synthetic blood isn’t FDA approved – there’s just enough gore and blood to recognize the messy brimming beneath the gilded surface. The tense debate on whether they are monsters or not and why they shouldn’t self-loath gets better as it goes on with bloody slip ups, saucy conflicts, sunlight perils, and deliberate virgin blood trickery. Although some scoring and editing are rough around the edges and debut writer and director Xan Cassavetes packs a lot of flash early on in the film to lure audiences, the likable cast and fine drama don’t need anything else. This would have made a fine long form series, and I’m glad the vampire genre is growing up again with films like this.

 

Twixt – Washed up horror writer Val Kilmer (The Doors) stars in this 2011 Francis Ford Coppola directed askewer set in a sleepy town featuring zany Sheriff Bruce Dern (The ‘burbs) and a belfry with seven clocks each telling a different time. One hear tells of twelve ghostly kids playing at midnight and a thirteenth child damned, and bodies in the morgue are free for the viewing since the serial killer’s calling card is a giant wooden stake. Bat houses are totally different from bird houses, and the abandoned hotel once sheltered Edgar Allan Poe. Val’s ponytail, Fedora, and drinking hit home the hoofing it, down on his luck author – his bookstore signing is in the bookshelf half of the hardware store! He’s asking for advances so his estranged wife won’t sell priceless literary collectibles, and Joanne Whalley’s (Willow) angry video chats tops off the backwoods humor. Old fashioned lanterns, fax machines, radios, split screen calls, tolling bells, clockwork groans, and wonky camera angles accent the weird nighttime blues, silver patinas, eerie woods, and decayed buildings. Distorted movements, slow motion fireplaces, skyline perspectives, exaggerate neon signs, specific red accents, and individual lighting schemes become increasingly distorted, and Elle Fanning’s (Maleficent) a mysterious porcelain doll-like girl. At times, the Sin City-esque style seems odd for odd’s sake, but the onscreen editor wants a vampire book with a story not just bullshit visuals, and a portable table and chair, ritual writing space, and blank computer screens wink at the select all delete that perhaps only writers can understand. Yes, it’s obvious we may be in an onscreen fiction thanks to the maybe maybe not dream quality, moonlit breakfasts, and imaginary conversations with Ben Chaplin’s (The Truth about Cats & Dogs) Poe blending the titular sense of time together. Is this the creative subconscious, a story in progress, or a purgatory limbo for our author? The interpretive subtext layers the warped atmosphere, but the busy tale within a tale, life imitating art twists end abruptly with typical creepy minister prayers, snakes, mea culpa, and literary catharsis. This isn’t perfect and probably too full of itself – nobody is going to red pencil Coppola – but this didn’t deserve to be a festival blink with a delayed video release. In fact, Coppola’s intentions as a live interactive film with different versions depending on audience reaction remain intriguing, making the picture either all dream, all reality, or all inside story rather than a patchwork narrative with pieces of each. Today, this choose your own adventure concept would be a water cooler Netflix event! Of course, the industry doesn’t embrace out there film making, and one also needs Coppola’s Godfather clout and financial freedom to do this kind of hobbyist release. Many will hate such uneven indulgence, but the oddities here are worth a look.